Waiting for the Lyft outside of La Cuevita. (Pic: Liz O.)
We were right around a dark stretch of the 110, near where the freeway crosses the L.A. River when I saw very brief flash of light and heard my Lyft driver gasp. Somebody was running across the freeway, he said. I looked to the side and saw a figure— thin, dressed entirely black save for the sneakers, which had something reflective on them— climb over the barricade. I don’t know about the driver, but I was stunned for the rest of the ride home from La Cuevita, remaining mostly silent through the end of “Personal Jesus,” which was bumping in the car, and then nervously tapping the beat of “This Charming Man” on my leg while thinking about how grateful I was to have gotten such a good driver right before the surge pricing went into effect on the Friday before Christmas.
I think about vinyl a lot. You might have already figured that out. I’ve written about my digs through the used bins. I’ve interviewed other collectors, as well as some of the people behind some of L.A.’s longtime recordstores. Plus, organizing my own stacks is a never-ending task that sometimes turns up old tunes that sound new and end up in the occasional all-vinyl DJ sets I play.
You won’t see much more than a few lights inside “Party/After Party,” but you’ll hear, and feel, a lot.
On April 16, “Party/After Party,” the sound installation from esteemed DJ/producer Carl Craig, opened at MOCA’s Geffen Contemporary in Little Tokyo. I interviewed Craig for Southern California News Group prior to the opening, which you can read online. (If you don’t have a subscription, but do have a Los Angeles Public Library card, log in through the LAPL portal to read it.) However, I didn’t get to walk through “Party/After Party” until this past week. It was both an incredibly familiar and unusual experience.
Star Creature Universal Vibrations is a Chicago-based record label dedicated to “contemporary boogie” that’s been around since 2015. They first hit my radar a couple years after that, back when Salt Box Records had a brick-and-mortar in Chinatown and I picked up a new release from a Russian outfit called Venus Express II based almost solely on the cover art. As it turns out, the record was just as cool as the album sleeve, so now I consider Star Creature to be a mark of quality for funky, synth-heavy tunes.
Perhaps like a lot of other DJs, I’ve been playing Nuovo Testamento a lot in my sets since nightlife returned. The disco mix of “Vanity” was one of the most-played tracks in my sets last year, in fact, I think I only played “Machina” from Boy Harsher more often.
Last Tuesday, I played a last minute, fill-in set at Dolce Vita and recorded the full two-hours that I played. Then I chopped the set down to a more reasonable one hour and ten minutes, which you can now hear on Mixcloud.
I’ll be back at Dolce Vita on Tuesday, February 21 to play from 9 p.m. until last call. There’s no cover and it’s 21+. Hope to see you there.
Rose Knows and I paying tribute to Giorgio Moroder at The Lash
There are a lot of venues in Los Angeles, but one like The Lash, where I DJed a lot over the years, is rare. That’s why I’m saddened to learn that the downtown venue has closed.
I’m grateful to Ross, KB and everyone with the venue for providing a home for a cross-section of niche scenes in the city for so long. The club was most closely associated with the darkwave/goth world, but, really, you could hear anything from techno to city pop there. The club boasted a truly eclectic line-up of parties, which is part of what made it unique.
Club Underground’s New Year’s Eve Ball Sold Out Before the Doors Opened
What a New Year’s Eve! It was amazing to play with Larry G. and Malvada for the sold out crowd at Club Underground’s New Year’s Eve Ball at Grand Star Jazz Club. Thank you to everyone who joined us on Saturday night to ring in 2023.
Depeche Mode 12″ singles for “Everything Counts” and “Love in Itself” from my vinyl collection.
There’s one band I’ve played more than any other in my DJ sets. That’s Depeche Mode. The British synthpop pioneers have been a part of my gigs, often regardless of the vibe of the party, since I started DJing. I doubt this will ever change.
I’ve been a Depeche Mode fan since I was a kid, but there are a lot of bands that I’ve loved for most of my life and don’t play nearly as often. It does help that L.A. has a lot of Depeche Mode fans. Outside of the clubs, the band frequently appears on request lists for weddings and birthday parties. But, that’s also not really the reason for so much Depeche Mode play.
“Goo Goo Muck” now has a disco edit courtesy of Mark James and Peewee Ferris
I fell in love with a incredibly fun and thoughtful disco take on The Cramps’ 1981 cult hit “Goo Goo Muck” from Mark James and Peewee Ferris this morning. It’s not something I expected to find. In fact, I never considered playing a disco variant of any song by The Cramps. But, that’s likely going to change soon.
